Sustain the Untruth was one of the first DEG songs I liked because it reminds me of the Resident Evil movie main theme
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Holy shit, i’m not the only one.
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I always read STU as “shut the up!”.
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this is my favourite genre of vkei song
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But do you go up the stairs blind intently?
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Is this an unpopular opinion?
The only thing I don’t like is the domestic argument section which is unnecessary and annoying. The song itself is decent.
You when this section comes on:
Are you deliberately trying to annoy me?
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Alright, let’s answer all the stuff.
STU Hate
When it was just a fresh single - I liked it a lot. Smth very simple and jammable after the attrocious DSS-Unraveling era (and yes I know Rinkaku was a thing already, but still). However, after Arche got released… I got a feeling they just took STU blueprints and applied it to 2/3 of songs from it. So, in my eyes/ears, STU got very redundant. Then there’s an overabundance of it on many DVD/BD releases, that atrocious Madsen mix of it… I heard it live once and managed to jam to it (maybe it does work better in live setting).
THE Final vs the Final
Yeah original is miles better than remake one. Of course, hearing Unraveling ver. live back in 2018 was awesome (sing-alongable chorus, audience unison and stuff)… but then these MFs played 2004 ver. this March, and it felt MUCH better. So yeah, OG rules.
And a new topic/thought to discuss… 2024 is their pure nostalgia year, it seems.
- They kicked off the year with “MY BLOODY VAMPIRE” shows (which were a thing back in 2002). To support that, they also played most of Six Ugly & Child Prey (which debuted precisely during MY BLOODY VAMPIRE/ZOMBIE gigs).
- Then they released 19990120 to commemorate their major debut 25th anniversary.
- From Depression to Europe Mode of WtD and Uroboros tour in EU (as in, bringing From Depression to____ tours overseas and playing two most/more popular albums in almost full).
- Psychonnect gigs in January & full tour in Spring/Summer + re-records of Cage & Yokan. Oh, and Gauze Vinyl release.
- And, finally (for now, at least), bringing back Androgynous gigs.
Imo, that’s a lot of throwbacks for a single year (but, thankfully, these ideas are pretty varied). Although, now I’m afraid they’ll take much more time to write new music again.
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Count on it. The last four lead singles were released approximately two years before their respective albums.
激しさと、この胸の中で絡み付いた灼熱の闇 (Hageshisa): 2009.12.02
DUM SPIRO SPERO: 2011.08.03
輪郭 (Rinkaku): 2012.12.19
ARCHE: 2014.12.10
詩踏み (Utafumi): 2016.07.27
The Insulated World: 2018.9.26
落ちた事のある空 (Ochita Koto no Aru Sora): 2020.8.3
PHALARIS: 2022.6.15
The Devil In Me: 2024.4.24
M?e??I?n??T?h?e??D?e?v?i?l: 2026.??.??
I fucking hate this release schedule.
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Sorry to ask, but did you take possible (externally influenced) delays into account between single and album releases?
For example,
DSS - extended overseas touring and Tohoku Earthquake 2011
ARCHE - The Unraveling / anniversary touring, Kyo’s throat eff-ups, and Sukekiyo
The Insulated World - the largest set of anniversary tours since Blitz 5 Days (AFAIK all members were literally invested)
PHALARIS - COVID
The upcoming album - Petit Brabancon album tours might push it further?
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I think that The Devil in Me will get a bit of a rework when the album is finally recorded. Reading the booklet interviews, it was recorded in half the usual time, and the release date was chosen before the song that would be released because they wanted to release something new immediately after numbers single. So I’m thinking this song will mature in this year’s tours and be a bit different when the time come
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Do you guys think the devil in me is a phalaris leftover, or a song supposed to set the vibes for the next album?
Does not feel like an phalaris leftover. The VIBES are very different imo
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Hopefully, and probably, it’ll be as indicative of the next album as something like Rinkaku was for Arche.
So…not really.
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Speaking of leftovers and non-leftovers, based on whichever “immediate next album singles” were vibe-setters or previous album leftovers (merely speculating here, note - ignoring Ain’t Afraid…, The Unraveling, and TWOM for obvious reasons):
1999/2000 Myaku (vibe-setter for Macabre)
2001 Filth (vibe-setter for Kisou)
2002 Child Prey (possible six Ugly leftover, not Vulgar-like)
2004 The Final (possible leftover idea off Vulgar, not Wtd-like)
2005 Clever Sleazoid (possible leftover idea off WtD, not very TMOAB-like)
2007 Dozing Green (possible leftover idea off TMOAB, absolutely not Uroboros-like as the demo version proves it)
2009 Hageshisa to… (vibe-setter for DSS, perhaps)
2012 Rinkaku (possible leftover ideas off DSS, not ARCHE-like at all)
2016 Utafumi (vibe-setter for TIW)
2020 Ochita… (vibe-setter for PHALARIS)
2024 TDIM (possible vibe-setter)
Looking back at their singles crawling back towards safe vibe spoilers rather than the opposite idea of “here’s a leftover song as our 1st single, you may never guess what the next album holds (see Uroboros)”, we could assume that certain TDIM elements might as well be prevalent in their next album sound.
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they tend to drop single tracks aiming primarily for shock value, which would describe filth, embryo (that got them banned from mainstream TV broadcasting for quite a while), child prey, the final (with video overly focused on a very lengthy, very detailed suicide scene moreso it was intended to complement the music imo), and clever sleazoid. it would also sort of describe TWOM, if the video didn’t arrive so late.
in case with their later albums, it’s really hard to say how many demo tracks they were working on before trimming them to the album selection, since they no longer release original b-sides along with new singles, so in that regard, rinkaku as a lead single could totally fit the early concept for arche, but the final album drifted away from that style. we know that they re-use rejected ideas for newer albums, but I think that applies to album tracks, particularly those long songs that have several people credited and they talk about combining different songs into one (TWOM would fit this too) - the singles are most likely written from scratch.
I’d say TDIM sounds like a continuation of their phalaris style with some ideas they’re playing with trying to make their sound stand out from their past catalogue, but it’s hard to tell if the next single and the actual album will be composed to sound in vein with it, or not.
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I have no basis for this statement, but I feel like it will be the Dozing Green of their next album.
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Anything is possible, but then again, they’ve never done this before (unless my memory is failing me). Highly doubt a rework is on the cards, especially since all remake tracks from this era are deliberately accurate to the originals.
A re-recording (or re-mixing) is more-or-less given. Hopefully the mixing won’t be worse than the single version as has often been the case in the past.
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They’ve done vocal retakes like embryo and Utafumi, and the heaviest reworking was Clever Sleazoid.
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And not just vocal retakes but instrumental ones too that significantly improved the quality of the said songs (without touching the vocal tracks).
For example, compare the single and album versions for DRAIN AWAY and Kasumi.
Crossing fingers that they will apply this to TDIM too.
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